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Dead Feminists: Historic Heroines in Living Color has been out in the world for a few weeks, and most folks have been excited (beyond our immediate families). A common response has been one of surprise: “it’s a real book!” Dashing expectations of a coffee table book, Dead Feminists is more than 180 pages of the women, history and social issues entangled in our series of broadsides. Questions about the writing process have come up, from assumptions that we worked with a “real” writer, or that Jessica did the writing while I illustrated. While we definitely worked with talented editors at Sasquatch Books who steered the book towards “real” bookness, both of us did the research, writing and photo research over nearly two years. We also both contributed imagery in the form of illustrations—hand-lettered images from me and beautifully-printed vintage cuts and patterns from Jessica.

Many of our dearest Dead Feminists are writers, artists, or both– evidence that we all find a way to tell our stories. Elizabeth Cady Stanton, who launched our series, wrote most of the speeches delivered by Susan B. Anthony. Some writers and their books are well known, like Gwendolyn Brooks and Rachel Carson—who both confronted ongoing challenging social and environmental issues—and their voices can guide us still. We have mere fragments of poetry from Sappho and carefully handwritten letters from Jane Mecom to her brother—they give us insights into their lives and eras when words from women weren’t often valued or recorded. In the chapter entitled Tell, we focused especially on women who had stories to share, like Virginia Woolf, who carefully crafted and composed both the pages and handset type for printing. Knowing the time and care involved, there is little doubt in my mind that the act of being writer and printer sharpens both crafts.

Without the discovery of Rywka Lipszyc’s diary found in the ashes of a Auschwitz crematorium she would have disappeared from history. Sarojini Naidu dreamed of independence for India through her poetry (“Waken, O slumber Mother and be crowned”) and was revered as a nightingale, filling the night air with song. We hope you’ll explore these stories more in depth through the book—and for local folks we have some opportunities in the next few weeks to join us in person.

Here’s what’s coming up this week and next, when you’ll find us invading first Seattle, then Portland. You can find future events and more info on our events page.

BROADS AND BROADSIDESA retrospective exhibition featuring our series through broadsides and steamroller printsReception, book signing & costume party
Come dressed as your favorite historical feminist!
Saturday, October 29, 4 to 7 pm (the show continues through December 16th)
October 29 through December 16, 2016
School of Visual Concepts
2300 7th Ave., Seattle,WA

WORDSTOCK: Portland’s Book FestivalChandler & Jessica appearing on an author panel
with Danielle Dutton, author of Margaret the First
and Laurie Notaro, author of Crossing the Horizon
moderated by Elly Blue of Microcosm Press
Book signing to follow
Saturday, November 5, 2016, 1:30 pm
The Old Church
1422 SW 11th Avenue, Portland, OR

Earlier we shared some sneak peeks of the chapter spreads, but now that our book is out we can tell you a bit more about how the book is structured.

Of course, we go into detail about the process and stories behind each of our broadsides, including a “director’s cut” of each print.

The great thing about the book format, though, is the ability to expand beyond the short colophons we include on each broadside. So each chapter goes in-depth about the women we featured and the social issues we highlighted with each broadside. Each story is anchored with archival photos and vintage ephemera to paint a more complete picture of these 27 women and their lives.

To tie everything together and reinforce our letterpress roots, the pages are peppered with vintage hand-set metal and wood cuts from Jessica’s incredible collection. Each one appears like an easter egg, linking our content to our process and bringing the past to life in the present.

Major thanks to our amazing editorial and marketing team at Sasquatch Books—every member of which is a fellow woman—for getting us to this point, and for continuing to support the Dead Feminists Fund through a portion of every book sale. And last but not least, thank you for supporting our series and our book. We hope that reading the book will be as rewarding for you as it was for us to write it.

We’d also love to see you at Tacoma’s Studio Tours, happening this Saturday and Sunday. This is our biggest event of the year, where we join more than 50 Tacoma artists for a city-wide free event. We’ll be selling (and signing) copies of our book at the event, as well ournew Dead Feminists broadside and a special new mini letterpress print. We’ll also have a host of new gifts and stationery for sale, plus free hands-on activities: print your own keepsakes at Jessica’s studio, and create a die-cut greeting card at my place. Sstamp your Studio Tour Passport at at least 8 stops on the tour, you can enter a drawing for a variety of artist-made prizes. Here’s the scoop:

One of the biggest challenges of turning the Dead Feminists into a book was figuring out a way to tie all our broadsides together in a way that was engaging for the reader. Aside from the size and format of each broadside, our prints had little in common with one another. Our feminists were a diverse group without much of an underlying thread—even the style of illustration was different for each one.

Jessica came up with the solution: using action verbs to tell our story. After all, our aim with the series was to use the literal and figurative power of the press to change the world around us. The women we featured had also created change—they were active, not passive. So we divided our 24 feminists among eight action words, choosing for each chapter a trio of women who shared qualities or deeds with that particular verb. And since we’re so close to the release of the book (just two weeks!), we thought we’d share a few of those words with you.

The best part for me, of course, was being able to make more hand-lettered illustrations! Each chapter’s verb is done in a different style, and elements of that illustration are carried throughout the rest of the chapter.

Of course, shoe-horning each feminist into one of the eight action themes was sometimes a convoluted business, but we got there in the end. We’re super pleased with how it all turned out—and hopeful that it might inspire more women and girls to take the lead with some action of their own.

Jessica and I were so immersed in the process behind our book for so long that it still feels weird that the final product is almost here. Yet here we are, just under a month away from our release date! We have a metric ton of events planned in the next few months, with more being added all the time. And since releasing a book is a bit different than releasing a broadside, we’re already getting lots of questions about how this is all going to work. Here are the ones we’re hearing the most so far:

Where should I buy my copy? Should I wait until the release date?

You can preorder the book now from your favorite bookseller. Large or small, brick-and-mortar or virtual, indie or corporate, they can all get our book into your hands, and we have links to the book on both large and indie retailers over on our book page. Here’s the thing, though: preordering your copy really does help. Preorders can help retailers foresee how popular a book is going to be—the more preorders there are, the more they’ll stock when the book comes out. And more stock raises the book’s ranking, making the title more visible and searchable on retailer websites. It helps spread the word for us and introduces our book to a wider audience. So if you’re so inclined, preordering now will help ensure we get a good head start.

Would you rather I buy it from you and Jessica directly?

Thank you for thinking of us, and wanting to support us directly! In the end, though, we’ve decided that we will only be selling the book ourselves at certain local, in-person events. Events where we will sell the book ourselves include:

• Tacoma Studio Tours, October 15-16
• Our exhibit opening at Seattle’s School of Visual Concepts, October 29
• Our Portland Lit Crawl event, November 3
• Our artist talk at the University of Puget Sound Library, November 8
• Our library talks in University Place (December 14) and Lacey (December 15)
• And by request/appointment for Seattle/Tacoma-area folks (you can always contact us if you want to do this)

If you want your copy shipped somewhere, your best bet is to order from your favorite bookseller. And since many of our other events are being hosted by bookstores and galleries, those folks will handle sales at those events. Here’s where you can find an up-to-date list of all our events so far.

What if I want a signed copy? If I’m not local, can I still get one?

Absolutely! Our local bookstore, King’s Books, is offering signed copies, which you can preorder on their website. They can ship anywhere in the world—all you need to do is specify that you want a signed copy in the “order comments” box when you place your order. Also, please specify if you want your book simply signed, or if you want it personalized to a specific name.

I am local, and I want to celebrate! Are you having a book release party?

You betcha! We’re having our official release party at King’s Books in Tacoma, on Tuesday, October 11 at 7 pm. And it’s a costume party! Come dressed as your favorite dead feminist and celebrate with us.

I’m a retailer, and I want to carry your book in my store. Do I purchase copies from you?

Retailers can buy wholesale copies direct from Penguin Random House, who is distributing the book. You’ll need to set up a retail account with them first, but from there bulk orders are easy. To get started, call 800.733.3000 or email csorders [AT] penguinrandomhouse [DOT] com.

Since the book is coming out, does that mean the letterpress broadside series is ending?

Not at all. Actually, our 24th and newest broadside will appear both in person and in the book concurrently. So that means we’re keeping it under wraps until the book comes out, but we’ll have some sneak peeks to show you in the next few weeks. And if you’re local, you’ll be able to see the print in person at Studio Tour on October 15-16, or at our upcoming exhibits in Seattle and Portland.

A young writer at one of 826CHI, a writing center we supported with our Warning Signs broadside. Photo courtesy of 826CHI.

And that brings us to some other great news we wanted to share with you. As you might already know, previously when we have released letterpress broadsides, we have also made donations to nonprofits that align with the issues we highlight with each print. With the book and broadside #24 about to come out, we’re starting a new chapter by inaugurating the Dead Feminists Fund.

In honor of the power of women’s work, the Dead Feminists Fund supports nonprofits that empower girls and women to create change in their own communities. Like our book, funding is organized under a series of Action Verbs (“Make,” “Grow,” “Lead,” “Tell,” etc.), which translate to micro grant categories. Each year the Fund will support nonprofits with micro grants in one of our Action categories.

The Dead Feminists Fund is a component fund of the Greater Tacoma Community Foundation, which manages, administers and invests in over 400 charitable funds, right from our home community of Tacoma. Being under the auspices of the GTCF allows donations made directly to the Dead Feminists Fund to be tax-deductible, and provides the proper legal framework to protect both our donors and our grant recipients.

We seeded the Dead Feminists Fund with a large percentage of our book advance, and we will continue to donate a portion of our future broadside proceeds to supporting the Fund. Best of all, thanks to the generosity of Sasquatch Books, a portion of the sales of our book will also be contributed to the Fund. We’re especially grateful to Sasquatch because as an indie regional publisher, they understand the importance of giving back to one’s community, and how small gifts can make a big impact. And Sasquatch also knows the importance of supporting women and girls—after all, the team of editors, designers and marketing folks who have worked with us on our book with us are all women. If that’s not girl power, I don’t know what is.

If you’d like to support the Fund directly, you can make a tax-deductible donation directly through the Greater Tacoma Community Foundation website. (At that link, scroll down to find the Dead Feminists Fund in the alphabetical list.)

As always, thank you so much for your support of our series over the last eight years—we can’t wait to share the next chapter with you.

It’s hard to believe we’re only five weeks out from the release of our book! A few advance reader copies are making their way around to media outlets already, and several people have asked us how we came up with the cover design. Since getting to the finished cover was quite a process, we thought we’d show you a bit of the winding path that got us here.

When Sasquatch Books first signed us as authors, they offered us the chance to design, illustrate and hand-letter the cover. Needless to say we jumped at it. But designing a book cover can be very different than designing other things—the stakes are higher, for one thing. In some ways, it’s more of a science than an art: a good cover can have a lot of sway in terms of book sales, so it has to be as eye-catching, informative and readable as possible. So to make sure we got it right, it was a hugely collaborative process—not just between Jessica and me, but also with the publisher, the art director, our editors, the sales team, and lots of other people we never even met in person.

Jessica and I started brainstorming and sketching cover ideas way back in November of last year; above are a few of the concepts we sent along. We had a lot of feedback that large, legible type was key, so that was a good starting point. We also had to be really careful about the hierarchy of type. We had to make sure “Feminists” caught the eye first, followed by “Dead,” then the subhead, then the byline, etc. Later, when we got the happy news that Jill Lepore would be writing the foreword to our book, that added another level to our type hierarchy. In addition to all of this, we wanted to give the Sasquatch team plenty of options, so we tried to make each concept distinct from the others. Right away the clear favorite was the one in the lower right corner, so that was the concept we took to the next level.

Then came a long parade of versions in color. We worked closely with Sasquatch’s art director and lead designer, Anna Goldstein, to try to catch that elusive unicorn that is a cover that works. I’d mock something up and send it to Anna; she’d mock something else up and send it back to us; rinse and repeat. Each time it felt like we were getting closer, but every time it felt like something subtle was missing. So we made a million little tweaks, to color, to lettering, to texture, to contrast, to composition, to kerning, etc. Each time one of us would have what seemed like a great idea, and each time the result was lacking somehow. I don’t even remember how long we stayed in this holding pattern. (Normally I keep all the iterations of a design carefully numbered in chronological order, but at some point I just lost track. I gave up and labeled that file “VERSION WHATEVER.” It makes me laugh every time I see it.) Everybody was frustrated: the elusive unicorn had transformed into the Holy Grail.

And then I think we all finally conceded that small tweaks were never going to get us there. We needed something to change in a big way, and we needed to scrap much of the work we’d done thus far. This is a really hard thing to admit to oneself—that maybe one’s brilliant idea wasn’t so brilliant after all. But the finished product is more important than anybody’s ego, and no matter how good a kernal of an idea might be, it’s not worth bringing down the whole design over it.

So we quite literally went back to the drawing board. I knocked together a few more pencil sketches, and we asked the whole team again what elements they thought were essential. A lot of people responded to the little cameo portraits of the various historical figures, so we came up with the idea to use them as more of an overall pattern (that’s the green cover on the left, above). Then our editors gave us the feedback that maybe the cover should be more like the style of our broadsides, with bold lettering in many different styles. Anna added the suggestion of making those cameo portraits more of a faint pattern than a major focal point, and then the lightbulb seemed to go on at last. That peach version in the center, I think, was what I put together next. Jessica and I could see that the most recent advice was on the right track, but we were still worried it wouldn’t stand out when seen on a display shelf with a hundred other books. Our editor asked us if we had any ideas for how to make it pop, and in wild desperation I fished out one of our earliest pencil sketches (above), the one with the face in silhouette, and gave it another look. What didn’t seem to work in sketch form suddenly felt like the missing ingredient when paired with the cameo pattern and the bold lettering. We sent a version back to Anna, and she gave it that antique texture and the gold-grey-and-teal color scheme you see here. And that was it—it was like she’d flipped a switch, and voilà: finished cover.

Over the course of eight years of printing our broadsides, Jessica and I had grown accustomed to just doing whatever we want in terms of design and content. With small editions to print, and nobody to please but ourselves, the stakes were low—and there was always plenty of room for experimentation. This book has been an entirely different animal, and I think designing the cover has been a perfect metaphor for the whole process. Writing a 40,000-word manuscript about history and feminism was never something we thought we could do, but with the incredible help of our editors, we got there. Likewise, designing the container for that content was a massive group effort—so major props and big thanks to Anna for sticking with us. Getting to the finish line required stepping way beyond our comfort zone—and more importantly, it took the whole team. We couldn’t have done it alone, and that’s a good thing, because both book and cover are the better for it.

It’s weird. Jessica and I have been working on this thing for two years now—imagining, planning, dreaming, drawing, writing, drafting, rewriting, editing, designing, redesigning, lettering, illustrating, editing again, photographing, curating, gathering, fact-checking, editing some more. But even though we did all of that, and for so long, only now does it actually feel like it’s really happening. Because now I’m sitting here with the actual book in my hands. We just received our advance copies, and for quite a while all I could think was, “It’s real.”

There are still two months to go before the book is real to everybody else, as well, but in the meantime we have a whole lot of snippets, sneak peeks and behind-the-scenes stuff to share. But if you’re champing at the bit like we are, you can pre-order your copy now.

Jessica and I are on pins and needles this week, as advance reader copies of our book will be arriving any day now. So while we wait to get our hands on the real thing, we figured now was a good time to share the cover of the book with you! I got to do the illustration and lettering on this puppy, and I can’t tell you how excited I am to see it in person. Getting to this point was a long, long process (and a story that’s worth sharing, so we’ll get to that another day), and it feels good to hear that people are already responding favorably to the design.

We’re pleased to announce that the book is now available for preorder (it’ll be hitting stores on Tuesday, October 11). You can find more info and preorder links to lots of retailers on our book page. And if you’re a shop owner interested in carrying our book in your store, you can find all the info on bulk ordering direct from the publisher inside my wholesale catalog.

A year ago we told our families and closest friends. A few months ago we started whispering to colleagues and acquaintances. Lately we’ve been spreading the word on the down-low, at events and gatherings. And now we can finally spill the beans in public:

Jessica and I are publishing a Dead Feminists book!

We’ve been hard at work for months already, and the writing, editorial and design part of the process is entering the home stretch. But it’s still too early for us to be able to share many nitty-gritty details, but we can tell you that the book will be called Dead Feminists: Historic Heroines in Living Color, and that it’s coming in October 2016 from Seattle’s very own Sasquatch Books.

There’s so much more to come, everything from photos to the cover design to sneak peeks to event details. But for now, enough things are still up in the air that we can’t show all our cards (or mix all our metaphors) at once. So to make sure you don’t miss any announcements, I suggest signing up for our mailing list.